Octave (Remastered W/ 5 Bonus Tracks)

"The Moody Blues returned after a five year hiatus with a very different sounding album. The punk and disco era were now in full flower and such groups as Styx, Journey, and REO Speedwagon were dominating the rock charts. Octave would abandon the cosmic and symphonic sound of the group’s past, and move toward one more in tune with the era. As such it would not stand out as a unique creation as did their core of classic albums.

Octave would also be the last album for founding member Mike Pinder. He had always provided a spiritual and in many ways the classical center of their music through his mellotron and chamberlin. Now playing a synthesizer the sound was different and not as grand. Years later it would come to light that he was not pleased with the musical direction of the group. Patrick Moraz would replace him as the group’s keyboardist and tour in support of the album.

Octave would have no unifying theme and be the most diffuse album that The Moody Blues had released up until that time. Each song would match the individual personality of its composer.
The John Lodge composition, “Steppin’ In A Slide Zone,” was typical of the new sound. It is a typical energetic Lodge rocker but the musical center was the keyboard-guitar interplay which was in vogue at the time. Still it was catchy and was a commercially successful single.

Justin Hayward is in ballad mode for this release and while he would not create anything as wonderful or unique as “Nights In White Satin,” his music is still very listenable because of the innate beauty of the songs. “Had To Fall In Love” and “Top Rank Suite” are both very mellow. “Driftwood” is the best of the three as it is a gentle love ballad which was a Hayward trademark by this time.

Ray Thomas created two songs for this release. “I’m Your Man” just disappears but “Under Moonshine” contains a strong lead vocal by him plus some classic harmonies by the other members of the group.
“One Step Into The Light” would be a final spiritual statement by Mike Pinder and his only composition on the album. The music would be more progressive rock than the grandiose sound of his past as he would bring his Moody Blues career to a conclusion.

A fourth Justin Hayward song would close the album. “The Day We Meet Again” would unintentionally or intentionally point toward the future as a new keyboardist was on the way and the grand classical sounds were being left behind.

Make no mistake, Octave remains a very good late seventies album but does fall short of the group’s best work. It was different, more modern, and ultimately a transitional work. Despite all that it still remains a good, if not essential, Moody Blues listen today." - Blogcritics.org

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • Collection of previously unavailable live recordings of this seminal Danish prog band that was a precursor to Secret Oyster. Source material varies in quality but the performances are stellar.
    $15.00
  • "The shady stretch of land that exists somewhere between the crossroads of rock, metal, prog, and alternative is one that generates discussion, but not necessarily sales. Fans of Dredg, Oceansize, Cog, and the like have watched countless inspired dissenters of the rock norm leave their mark on music boards and venue bathrooms, only to fizzle into obscurity when radio deemed their playful idiosyncrasies just a little too off-putting. There is a certain burden any group that shakes off standard typecasts faces, yet, with the Australian music scene abuzz with newly recognized talent, and the current popularity of all things delay-driven, it’s an interesting time to be a band like Brisbane’s Dead Letter Circus.In a recent editorial Vince wrote about Tesseract, he echoed a sentiment I’ve long held: the current line of alternative progressive bands might just be the perfect “something for everyone” presence heavy music has needed to escape the rigid confines of the underground.It is difficult to shake the sense, in listening to Dead Letter Circus’s sophomore album, The Catalyst Fire, that the term “alternative rock” does no justice to them, and that there are a whole lot of people who could conceivably enjoy the crap out of this work.Dead Letter Circus already proved that touring with significantly heavier bands (the likes of which include Animals as Leaders, Intronaut, Last Chance to Reason, and Monuments) posed no challenge to winning over fans who would normally avoid anything quite so digestible, and with the impeccable song craft and memorable hooks on display in The Catalyst Fire, I think it’s only a matter of time before the people standing on the other side of the aisle also take notice.The first things that standout on any number of these tunes are Kim Benzie’s explosive tenor vocals and the big, shimmering walls of sound his band mates house them in. Benzie has the kind of voice that is perfect for this style of music—familiar, but never readily traceable to a sum of affected influences. His range alone is impressive, but his ability to weave it into inescapably catchy melodic motifs with intelligent messaging behind them is paramount to DLC’s universal appeal.Of course vocals alone are not the full package; this is passionate, high-energy music, and the band behind Benzie just kills it. As with This is The Warning, the group’s instrumental voice consists of delay-blasted, tremolo-heavy guitar leads jousting with one of the growliest bass tones in rock music and an ever-stimulating rhythmic presence that never feels “in the way.” Luke Williams shows off more than a little of [The Mars Volta's] Jon Theodore’s influence in his nutty patterns, but by keeping them within the architecture of 4/4 time he never detracts from the immediacy of his surroundings.This package is all further elevated by Australian production ace Forrester Savell (Karnivool, The Butterfly Effect), who returns for his second project with the band. His distinctive mix style of “rhythm guitar in the background— everything else upfront” plays a pivotal role in what makes Dead Letter Circus sound so friggin’ huge and heavy without sounding like a metal band.High praise aside, it’s worth acknowledging that very little has changed in the group’s formula. The Catalyst Fire is just another batch of very tightly written and memorable songs, with all of the group’s strengths made readily apparent. Despite having two new guitarists in the band’s ranks (following the departure of founding member Rob Maric), the aforementioned stylistic elements that made This is The Warning successful remain firmly in place.There does, however, seem to be more of an effort made to vary things up on this work. Where the group’s debut, at times, felt a little too consistent in its approach, The Catalyst Fire sees Dead Letter Circus shuffling out the constant adrenaline of songs like “Stand Apart” and the single “Lodestar” for contemplative slowburners to the tune of “The Veil” and “I Am.” One could argue that the group has become a little comfortable with the harmonic framework of their choosing, but it would be difficult to imagine them conveying the same feeling in their music outside of their beloved major-flavored-minor key progressions.As a whole, The Catalyst Fire, is darker and snappier in its execution than This is The Warning, making for a subtle evolution of an already very strong base. Also, the fact that Karnivool recently made a serious deviation from their relative norm makes a more immediate and urgent sounding release from the Dead Letter folks all too welcome in 2013. I have little doubt that those in the metal and prog worlds who dug the group’s first release will have no trouble rekindling the flame with The Catalyst Fire, but with a little marketing muscle, this could be the vehicle that makes Dead Letter Circus an “anybody band,” and a damn good one at that." - Metal Sucks
    $2.00
  • The band's first album from 1974. At this point in time the music was this miasa of progressive rock and blues jams held together with pure emotion and raw energy. This one definitely needed to be cleaned up on CD since the original vinyl pressing was terrible.
    $14.00
  • "Right from the start, a vastly different Weather Report emerges here, one that reflects co-leader Joe Zawinul's developing obsession with the groove. It is the groove that rules this mesmerizing album, leading off with the irresistible 3/4 marathon deceptively tagged as the "Boogie Woogie Waltz" and proceeding through a variety of Latin-grounded hip-shakers. It is a record of discovery for Zawinul, who augments his Rhodes electric piano with a funky wah-wah pedal, unveils the ARP synthesizer as a melodic instrument and sound-effects device, and often coasts along on one chord. The once fiery Wayne Shorter has been tamed, for he now contributes mostly sustained ethereal tunes on soprano sax, his tone sometimes doubled for a pleasing octave effect. The wane of freewheeling ensemble interplay is more than offset by the big increase in rhythmic push; bassist Miroslav Vitous, drummer Eric Gravatt, and percussionist Dom Um Romao are now cogs in one of jazz's great swinging machines." - All Music Guide
    $7.00
  • Andy Latimer goes Celtic!
    $20.00
  • FINALLY AVAILABLE IN NTSC REGION O! Limited edition set includes the End Of An Era DVD along with the audio on a 2 CD set. Also has a Nightwish media player. This is Tarja's final gig with the band. Incredible quality. A must own.
    $22.00
  • Gorgeous doomy Floydian metal. Super jewelbox reissue.
    $12.00
  • Deluxe CD/DVD digipak.  The DVD features a "making of" documentary and lots of other stuff."Opening up the autumn season in grand fashion, a deluge of fantastic releases are upon us and spearheading that charge is veteran progressive black/Viking metal titans Enslaved and their newest and likely earthiest opus RIITIIR. Continuing along the long and illustrious progressive path the band first started drifting toward with 2000’s Mardraum: Beyond The Within. But if 2010’s Axioma Ethica Odini was a return of punishing metal authority, RIITIIR is an exercise in extremes and bombast – everything here is enormous in scale and execution. The songs themselves (most shooting well beyond the eight minute mark) each featuring a myriad of movements and cascading motifs, everything the Enslaved fan loves about the band here and in grand style!Glacial sheets of guitar are par the course for RIITIIR, the opening salvo of “Thoughts Like Hammers” steamrolling right out of the gate, near equal play of harsh and clean vocals coming into play with time, threatening and soothing in equal measure. These peaks and valleys return in epic fashion on “Veilburner,” trade-offs and synchrony of the two ends being used to tremendous effect, the cleans in particular used better here than on any release since Herbrand Larsen joined the group in 2004. This clean expression comes through in grand fashion on 11 minute closer “Forsaken,” a decidedly low key but super effective end to the journeys the album takes.It isn’t all clean wailing and atmospheric pomp however, the band lovingly riffing out with rediscovered metallic bravado with “Roots of the Mountain” and “Storm of Memories.” Though the harsh cliffs at the outset are soon met with clean voiced and mellotron-drenched ridgetops, eventually the listener is firmly kicked back into the abyss, this time accompanied by some fantastic and ongoing solos. It’s fascinating to see the rediscovered metallic vigor that came to life on the last release mixed so fervently with the band’s ever-growing melodic sense and expressive voice. These two aspects of the band, combined with their increasingly complex compositional sense, make for an exhausting and enthralling journey.All that being said, what’s featured on RIITIIR won’t come as a surprise to anyone who’s listened to the band for even the past couple years, let alone the last decade – the album is simply another notch along the belt of progression by degrees. The compositions are bigger, more ornate, bristling with finer features and bombast. It’s the band’s thickest release in a long line of releases guitar Ivar Bjørnson has joked are ‘all two weeks long’. With each of those releases however the joy lay in divining the details over repeat listens, unearthing the secrets between the out layers. That remains the case here, RIITIIR another fantastic from a band that burst past the 20-year mark and is showing zero signs of aging. " - Blistering.com
    $15.00
  • "On first listen, you could be forgiven for thinking that Helker are German: in fact, they hail from that renowned hotbed of heavy metal Argentina, with ‘Somewhere In The Circle’ being their fourth album but the first to be both recorded in English and gain an international release, thanks to a deal inked last year with AFM Records.However, the assumption that the five piece’s geographic origins lie in Germany, or even Italy, is a fair one to make, due to a number of factors – not least their collaboration with one Mat Sinner, who not only produced the album but also co-wrote all of the 11 tracks. Then, there’s the material itself, which evokes classic Helloween, especially, as well as the likes of Hammerfall, Primal Fear (vocalist Ralf Scheepers makes a guest appearance, along heavy metal mercenary Tim ‘Ripper’ Owens, on ‘Begging For Forgiveness’) and just about every other classic European power metal outfit.All the right elements are included – soaring guitar solos and harmonies, huge, catchy choruses and majestic vocals. Actually, let’s concentrate on the latter for a moment: Diego Valdez does have a powerful, impressive voice, with a delivery and style that is very reminiscent of the late Ronnie James Dio (perhaps a bit too closely imitative on the likes of ‘Modern Roman Circus’, ‘No Chance To Be Reborn’ and ‘Dreams’), Michael Kiske (check ‘Wake Up’ or ‘Ghosts From The Past’) and even Klaus Meine (as on ‘Flying’).Elsewhere, the musical performances are all powerful and impressive, delivering a collection of songs that don’t stray too far from the traditional power metal formulae but nevertheless do so in an efficient and tidy manner." - Planet Mosh
    $15.00
  • Second album from Silent Force guitarist Alex Beyrodt continues to successfully mine the 70s hard rock sounds. With the great David Readman out front, Voodoo Circle sounds remarkably like Burn-era Deep Purple and late 70s Rainbow. Beyrodt takes more of a Malmsteen approach with crazy fast sweeps but a bit of Blackmore trickles in there. Funny how much this sounds like a 70s disc. I have a soft spot for this kind of stuff. Recommended to like minded individuals.
    $15.00
  • "Described as “the Enya of heavy metal” and a Celtic vocal goddess, Leah’s brand new EP will certainly make waves with fans of acts like Nightwish or Leave’s Eyes. The beautiful siren has a voice that is unmistakably brilliant, showing off right from the start on piano-laden ballad “Shores Of Your Lies.” But for those of you who might be under the assumption that this is just going to be a light-hearted affair with no sign of guitars, drums or other metal elements, you are quite wrong. “The Northern Edge” sounds exactly like what would happen if you threw Enya right into the middle of a sprawling metal band, blast beats included. I don’t know about you, but I’m already impressed with this one. “Surrounded” is a bit lighter, but still showcases Leah’s vibrant vocal chords and some slick guitar playing to boot. I think that other female vocal artists are going to have a healthy amount of competition in this woman, who once again proves her prowess with “Do Not Stand At My Grave And Weep.” But finally, there’s the album closer “Dreamland,” which features none other than Eric Peterson (Testament, Dragonlord) on vocals. With his black metal approach (and a so/so clean vocal that doesn’t work for the piece) providing a great balance of dark and light, along with thundering guitar riffs – this track definitely sets the stage for a welcomed heavier side of Leah. Maybe not everyone will understand it, but even if you don’t, you can’t deny that the other four tracks on this EP are quit magnificent. Out of the many female vocal pipes that I’ve heard in the metal and rock genres, Leah is a force to be reckoned with. Metal has never been more majestic." - New Noise
    $10.00
  • "German heavy metal marauders Scorpions recorded seven studio records before breaking in to the U.S. market in 1982 with Blackout. The album became the group's first platinum disc in the U.S., and the dynamic single "No One Like You" became a staple of album rock radio. While the Scorpions had created powerful anthems and epic rockers in the past, Blackout mixed the ingredients just right. The title track was an endorphin rush of fast-riffing guitars and electrified, high-pitched vocals that culminated with the sound of shattering glass. "Can't Live Without You" was a powerful melange of flash, firepower, and pure melody, and the slow, surging "China White" sounded like a psychedelic interpretation of Led Zeppelin's "Kashmir." After years of ignored visas, Scorpions had finally arrived in America."  -- Jon Wiederhorn
    $5.00
  • "IRON MASK stand out from many other artists of the neo-classical metal genre because they manage to combine high musical ambitions with a certain kind of accessibility and lots of variety. With 'Fifth Son of Winterdoom', Dushan Petrossi and his band manage the musical claim to be very catchy, so fans of Firewind, Dio, Iron Maiden, Yngwie Malmsteen and Rainbow will all have their joy in this extraordinary album."
    $15.00
  • Atmospheric and mysterious. Those were the key words that Arjen Anthony Lucassen had in mind when he started his ambient rock project Ambeon back in 2001. For this, the multi-instrumentalist started a co-operation with singer Astrid van der Veen, a 14 year old super talent that Lucassen had discovered shortly before, and the later Within Temptation drummer Stephen van Haestregt. Ten years after the first release, Ambeon’s only album Fate of a Dreamer is now being released as a digipack with remastered original recordings, some single-edits/remixes and an extra track. The big surprise is a bonus-cd with acoustic versions of various Ambeon songs and many Ayreon classics, which has been Lucassen's flag ship for almost two decades.DeLuxe 2CD Set in Digipack, Original Album, Extensive Booklet,27 Remastered Tracks = 10 tracks Original Album + 17 Bonus Tracks,over 115 minutes of music.Liner notes by Arjen Lucassen.Track listingTMD-070 AMBEON – Fate Of A Dreamer: The Album – The Unplugged RecordingsCHAPTER 1: THE ALBUM1. Estranged 2:512. Ashes 5:293. High 4:154. Cold Metal 6:505. Fate 7:456. Sick Ceremony 3:447. Lost Message 4:338. Surreal 4:389. Sweet Little Brother 6:0810. Dreamer 5:17Bonus Tracks11. Cold Metal 3:48 – Single Version12. Merry-Go-Round 4:4513. High 3:29 – RemixCHAPTER 2: THE UNPLUGGED RECORDINGS1. Actual Fantasy 1:252. Valley of the Queens 2:393. Ashes 3:154. Charm of the Seer 3:295. Castle Hall 4:336. Estranged 2:497. Temple of the Cat 3:328. Isis and Osiris 6:099. High 3:4310. Garden of Emotions 4:3111. Sick Ceremony 3:0212. House on Mars 5:2213. Lost Message 3:4214. Into the Black Hole / Cold Metal 5:10REMASTERED IN THE 24-BIT DOMAIN FROM THE ORIGINAL MASTERS
    $22.00